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Wimbledon 2017: Take a look at these incredible images from SW19

So, defending champion Andy Murray has hobbled home in defeat and Johanna Konta has fallen at the last, in her quest to become the first British woman to appear in a Wimbledon final since 1977. Ah, the pains of being a British tennis fan. But, don’t worry, all is not lost. GQ have teamed up with Getty Images to bring you the best images from SW19. From Venus Williams’ vicious backhand to Garbiñe Muguruza's victory cry, these are our lasting impressions of Wimbledon 2017. Enjoy.

Day one: Monday 3 July"This was my first experience of shooting Wimbledon and also my first at a Grand Slam tennis event.

"I was lucky enough to find myself on Centre Court, with defending champion Andy Murray getting play under way.

"My second game of the day featured eleventh seed Petra Kvitová – who had recently returned from a well-publicised spell out through injury and would face Sweden’s Johanna Larsson.

"Following a short rain delay, I chose an elevated position to capture shadows with the light reflecting on the still pristine grass.

"I was initially concentrating on Larsson at the far end. However, as I followed the action, both players came into the net. Larsson’s lobbed shot forced Kvitová to stretch, which created this unusual body position, where she appeared to be playing the wrong way round.

"This was an unexpected moment that I was lucky to capture." David Ramos

Day two: Tuesday 4 July"As I was photographing the last match on No 12 Court, between France’s Océane Dodin and Lucie Safarova of the Czech Republic, I noticed that the background behind the server at one end of the court was becoming dark and offered the possibility for a great picture.

"There was also a strip of evening light running from the corner of the baseline into the net. I altered my seating position so Dodin would be between the two line judges at the rear of the court – this allowed for the cleanest possible background.

"As Dodin followed through on her serve, her hair flew up and caught the light perfectly, giving a dramatic feel and a sense of movement.

"Despite Dodin’s defeat she manged to provide me with the image of the day." Clive Brunskill

Day three: Wednesday 5 July"Five-time Wimbledon Ladies' Singles champion Venus Williams comes out of the shadows to overturn a set deficit and reach the third round.

"I chose the elevated position on No 1 Court because from here I could make an interesting shot with a small window of light that appeared as the shadows moved across the court. It’s a real waiting game; you need patience to get that perfect moment and capture the image you’re hoping for.

"Fortunately for me, the moment came as Williams moved through the strip of light with a sweeping backhand and with it an interesting body shape." Shaun Botterill

Day four: Thursday 6 July"The limited space on No 3 Court can prove difficult to photograph from, but I was lucky enough to be sat facing Garbiñe Muguruza as she was set on match point with Belgium’s Yanina Wickmayer.

"The added softer light enhanced the quality of the image and as Muguruza was finally victorious, the combination of her crouched position, emotional reaction and her racket perfectly framing her face worked incredibly well.

"Her euphoria summed up the delight and joy at progressing through to the next round of the most prestigious of Grand Slam events." Julian Finney

Day five: Friday 7 July"My position on Court 18 for the match between Caroline Garcia and Madison Brengle had the backdrop of the new No 1 Court roof construction (which is due to be completed in 2019).

"In that respect, I was aiming for an image that included the building work and gave a sense of the atmosphere.

"Garcia was being particularly athletic and mobile and had leapt several times during the match. On this occasion Garcia’s stretching, jumping backhand seemed to fit the shape of the court behind.

Day six: Saturday 8 July"Ernests Gulbis faced an incredibly tough third-round match against Serb Novak Djokovic and this image typifies the exertion and determination required to compete with a three-time Wimbledon champion.

"As the sun dropped lower, I moved position to near the baseline. It's not a regular spot to photograph from, but the potential for a different image was evident, with either Djokovic or Gulbis possibly stretching towards me.

"Fortunately, Gulbis provided that exact moment, as he lunged for a backhand at the rear of the court. The intensity and focus is clearly visible in his eyes and the sweat flying from his trailing hand indicates the steamy conditions the players had to contend with and added a further dimension to the image." Clive Brunskill

Day seven: Monday 10 July"With only a few chances to shoot on centre court during the fortnight, one of the ideas I had was to capture a ‘pan blur’ of a top player. The match I was able to shoot was Andy Murray vs Benoît Paire in the fourth round on Centre Court. As the light dropped I looked to create an image using the ‘flat light’.

"I shot at a slow shutter speed (around 1/15 sec) as Murray ran to receive a drop shot. Another reason was due to Murray's lack of movement. His opponent also realised that he wasn’t as fit as normal, so tactically chose to play drop shots to make him run.

"The image shot from left to right with a full crowd showed a variety of colours and made for a great pan blur." Julian Finney

Day eight: Tuesday 11 July"I took a gamble for this quarter-final match as I was positioned at the far end of one of the baselines, rather than taking a more ‘newsy angle’ towards the middle of the court, where you can see both players easily. Even if I wanted to move, the pit was at capacity, with Johanna Konta aiming to be the first British woman in a Singles semi-final since 1977.

"Due to the roof being closed there was a lack of sunlight, so I looked for a solid background. There is a certain uniqueness to Centre Court and you can photograph it differently from the outside courts.

"Konta’s leaping forehand symbolised her determination and focus, as she came from a set down against the No2 seed Simona Halep. By being positioned at the far end of the baseline, I was able to shoot wider and looser than had I been in the middle of the court." Shaun Botterill

Day nine: Wednesday 12 July"I had been attempting this image for the duration of the championships, but had been unable to meet the criteria I needed. Previous occasions had been hindered by poor light, dark skies and a stadium not filled to capacity.

"The Gilles Müller vs Marin Cilic men’s quarter-final provided the perfect opportunity. There wasn’t an empty seat in the house – with even royalty from Luxembourg there to watch their 16th seed (Müller) in action. The sun was also high in the sky above the court, thus producing even light and decreasing the shadows on the court and stands.

"A new roof is being constructed over No 1 Court and this will be the last Championships where it will be possible shoot this particular general view." Julian Finney

Day eleven: Friday 14 JulyDifferent players react in varying ways. Marin Cilic has always been pretty emotive and has supplied photographers with numerous great reaction images.

The previous set points from the match vs Sam Querrey had been shot on a long lens to grab tight in celebrations. However, for match point I chose to show the atmosphere of centre court and shoot Marin Cilic looser.

I anticipated that Marin Cilic (about to secure his first ever Wimbledon men’s singles final) would react in a spectacular way and, in that respect, he did not disappoint. The wider shot encapsulates not only his joy, but the reaction of members of the centre court crowd.

Day 12: Saturday 15 JulyMy assigned position for the women's final between five times Women’s singles champion Venus Williams and final debutant Garbine Muguruza was from Platform B, which is in the corner behind the baseline to the side of the Royal Box and slightly elevated. It can work very well at match point as the players coaches and family sit directly behind. However, is also quite a restricted view as a television cameraman covers the court to the left.

A picture I had tried capturing on previous matches was the return of serve by using a 500mm lens shooting towards the far end of the court, thus condensing the player against the scoreboard in the background.

Garbine Muguruza was producing a powerful display and this image typifies her strength, grit and focus as she returns another shot on her way to eventual victory. Michael Steele

Day 13: Sunday 16 JulyOn the first day of my first Wimbledon, chief photographer Shaun Botterill showed me the key positions to work during the championships.

Although I didn’t shoot inside Centre Court for the Men’s Singles Final, I would be positioned to capture a key image of one of Wimbledon’s post-final traditions.

I was stationed on top of Court 3 in front of the balcony of Centre Court. I kept the shot quite wide as I wanted to capture the atmosphere and the crowd greeting the victor, as well as the iconic and striking green ivy that adorns the outside walls. I was also lucky to "catch the flash" of one of the official photographers on the balcony and "framing" Federer in the picture.

It is also interesting to see that the majority of massed spectators are capturing a photo or video of their own on their smartphone – it would certainly be interesting to see a similar frame from ten years ago! David Ramos